Tag Archives: streetwear

Sci-fi is about more than dreaming up fictional worlds—it’s about creating a visual universe, a futuristic aesthetic for everything from sunglasses to satchels. And in an era of video-game marathons and binge-watching sessions, elements of these sci-fi-inspired styles are bound to bleed into the real world. Fashion inspired by the genre might even, like the best speculative fiction, offer subtle commentary on our technology-saturated society.

These are the roots of Guerrilla Group, a Taiwanese brand that draws inspiration from classic sci-fi games and films like Metal Gear Solid, Alien, and Akira, and then translates it into apparel for everyday use. Although some of the pieces might look more suitable for future-themed fashion editorials, most are functional for the street.

The brainchild of Andrew Chen and Anthony Bui, Guerrilla Group creates everything from detailed jackets and layered pants to form-fitting tees and cross-body satchels. The brand emphasizes distinctive but practical materials, such as high-modulus polyethylene, lyocell, and transparent leather. The last of these is so new, in fact, that the producers won’t even tell them how it’s made. It’s stuff you rarely see but want to see more of.

Beyond their affinity for unusual materials, Guerrilla Group sets itself apart from other brands through its “storytelling” approach to fashion. Every new collection starts with a concept that’s then fleshed out with a story and visualized in a lookbook.

The stories crafted by Chen and Bui are rooted in fiction but take cues from the real world, and more often than not, they contain implicit social critique that confronts issues such as military fetishization and invasive authority. “A lot of our collections are actually trying to send a message of warning,” Chen says. “Like our End Of Secrecy line, which is based on PRISM, the American internet surveillance program. We’re addressing how governments control your information.”

As of late, the brand is starting to move away from the sci-fi aesthetics that defined its early years. One of its recently released satchels was based on Buddhist monk sling bags—though since it’s made of an experimental transparent material made by Ecco Leather, it still resembles something extraterrestrial.

A more significant departure from the brand’s sci-fi and techwear roots is a new line based on street racing. Inspired by old auto magazines, Japanese car mods, and manga comics, this collection revolves around a fictional auto body shop called Silent Works. Their campaign even includes three real-life customized cars, including a Nissan 240SX.

Guerrilla Group’s elaborate concepts and graphics-heavy designs hint at Chen and Bui’s ambitions beyond fashion. “Neither of us studied fashion design,” Chen notes. “Anthony was a graphic designer and I studied Art Design. This brand was actually my graduate thesis topic.” The duo ultimately hopes to operate a full-fledged creative agency under the banner Guerrilla Foundation for International Recon Media Group, or GFIRMG. They plan on expanding into film, product design, and visual design, and no matter the medium, they want to tell stories that meaningfully engage with a changing world.

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Shenzhen-based brand ROARINGWILD understands what makes a piece of clothing “streetwear” is more than its aesthetics alone – it’s the attitude and spirit behind the garment that truly makes it streetwear. And for the last seven years, ROARINGWILD has worked tirelessly to advance their vision of creating a streetwear brand that not only represents their ideals but can also inspire an attitude shift in the Chinese youth. The ROARINGWILD name itself is a message, telling the youth to no longer stay complacent; it’s a rallying call, emboldening people to live loudly and chase after their dreams fearlessly. The concept of streetwear as a lifestyle is embedded in ROARINGWILD’s very DNA, and the latest manifestation of the brand’s vision comes in the form of ROARINGWILD’s first brick-and-mortar store in Shenzhen, recently unveiled on October 28th. For the six co-founders behind ROARINGWILD, this physical location is meant to be more than simply a clothing store – it’s the physical embodiment of a yearning to introduce a lifestyle that they know and love to more young people in Shenzhen.

The recent opening event was an experience quite unlike other conventional store launches. While products from their latest collection were on display and available for purchase, they were never the focal point of the event. The opening felt more like ROARINGWILD’s way of paying respects to the long-standing intersect between art, design, music, and streetwear. Photographers, graffiti artists, musicians, fashion designers, and more were all brought together to celebrate not only a milestone for the brand but to celebrate Chinese streetwear culture as a whole. Flaunting the cyberpunk-inspired techwear jackets and traditional Chinese tunics of ROARINGWILD’s latest collection, attendees put on a master class in Chinese street style and showcased how the Shenzhen-born brand fits alongside pieces from international streetwear powerhouses such as CAVEMPT, C2H4, and Gosha Rubchinskiy.

At the event, Shenzhen’s streetwear community demonstrated a sense of inclusiveness and welcoming spirit that was a refreshing departure from the better-than-thou attitude adopted by similar scenes in other cities. People of different backgrounds, different ages, and different professions all mingled together, united by a shared passion for streetwear. “Shenzhen is definitely a very inclusive city,” says BG, the creative director and head designer of ROARINGWILD. “It’s because the city is younger and the youth here are open to new things. Even when people are doing different things from one another, they’re all interested in what their peers are up to. That’s probably what has forged this sense of community. It feels like something that’s exclusive to this city.”

While the new store marks a brand new chapter for ROARINGWILD, BG is well aware that there will be more challenges on the road ahead. However, having started the brand from scratch back in 2010, overcoming unforeseen obstacles is nothing new. Sharing parallels with the DIY ethics and figure-it-out-as-you-go style of many of today’s most successful streetwear brands, ROARINGWILD has gotten to where it is today by swimming against the current, learning from its mistakes, and proving all the naysayers wrong “In life, people might tell you that you can’t do things this way or that way, but you’ll often end up doing it anyway,” says BG, shrugging. “A lot of what we’ve done up to this point defies the traditional methods or ways of thinking. We want to pass this attitude on to today’s young people. It’s not just about selling products – it’s about expressing ourselves.”

With a newly opened Shanghai office and a strong showing of upcoming releases at this year’s YO’ HOOD streetwear trade show, Herschel Supply appears ready to take the Middle Kingdom by storm. The Vancouver-based brand, founded by brothers Lyndon and Jamie Cormack, has been producing quintessential bags and accessories for North American urbanites since 2009. Herschel’s foray into China is an opportunity for the brothers to introduce their products and share the brand’s spirit of exploration and thoughtful designs to a new, massive audience.

What sets Herschel apart from all the other brands entering China is its open-mindedness and ambition – the brothers aren’t merely interested in introducing a Western aesthetic into China. Chatting with Lyndon, he shared some plans of upcoming collaborations with local Chinese designers and brands. Speaking passionately, Lyndon says, “Being a global brand is about collaborating with artists around the world and bringing their stories to the global audiences. It’s not enough to bring North American stories to China, we want to bring stories from China back to North America.” Taking into account Herschel’s recent collaboration with Japanese streetwear brand WTAPS, the brand appears genuinely keen on facilitating creative collaborations in not only China but throughout Asia and the rest of the world.

Beyond an interest in the cross-pollination of cultures, Lyndon places great importance on respecting and understanding cultural nuances from region to region. When releasing new collections, the brand carefully considers the needs of different regions in terms of both functionality and aesthetics. Hinting at features of upcoming designs, Lyndon shared his observations of Chinese cities: “Sometimes when you leave home for the day, you won’t return until late at night. In North America, most people rely on cars so they can leave things there and bring more with them. For China, people have to be more thoughtful with what they’re bringing with them every day.”

One of the most surprising aspects of Herschel might be where its products are manufactured. Even though its design aesthetics are firmly rooted in North American heritage, much of Herschel’s products are manufactured in China, a matter that the brand has happily maintained transparency around. “The factories and the amount of technologies in China they’ve been investing in to ensure they’re cutting-edge and leading is far superior to what we’ve seen in other countries,” Lyndon beams. “We want to make our products in the best place we can and it happens to be right here in China.”

As our conversation came to an end, Lyndon optimistically commented on China’s fast-developing fashion scene, “Before, Chinese kids might’ve wanted to be like American kids. Now, Chinese kids want to dress like Chinese kids. I think it’s going to come full circle. What’s going on here is going to influence everything in North America and Europe as well.”

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Recently, independent clothing brand The Private Label released Last Days, the newest lookbook for its 2017 Pre-Fall collection. Shot by French photographer Laurent Segretier, the series takes place in Hong Kong’s Chai Wan District, in an old shopping arcade that’s been scheduled for demolition. The project is a commentary on the rapid development of Hong Kong, especially the invasion of corporations that have rendered these traditional shopping malls obsolete. With the belief that this mass production and developmental frenzy is eroding the very essence of Hong Kong and wiping away the city’s many unique characteristics, the designer behind The Private Label set off to try and capture a vanishing side of Hong Kong. Last Days is a documentation of the final days of one these communities and encapsulates a sense of wistful regret and nostalgia.

The designer behind The Private Label consider the 80s and 90s as the golden era of Hong Kong and is influenced by the kung-fu movies and romance movies of the period, envisioning a photo series that could convey the texture and ambiance of the Chinatowns depicted in the films from this time period. To establish this particular aesthetic and mood, Sergretier chose to use 120 film. The end result is a palette of soft colors that appear to seamlessly combine the clothing, subject, and environment into one unified frame.

In addition to the lookbook’s retro vibes, the designs of the collection itself are also derived from the designer’s nostalgia. Growing up at the turn of the millennium, the designer behind The Private Label have observed hip-hop and NBA culture’s influence on the trends of this generation. This realization translates into this collection’s designs, appearing in the form of oversized fits inspired by the streetwear of the 2000s. Coupling this with the choice of a finer fabric and modified silhouette commonly seen in Eastern garments, the collection blends the best of both worlds, accomplishing the designer’s goal of combining the spirit of Western street culture with the aesthetic sensibilities of Eastern culture. The new collection is now available on The Private Label’s official website.

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Dig Deep is an independent menswear label based in Singapore, their apparel is designed in and inspired by the East Asian region. Each collection focuses on a particular country within the region and aspires to convey certain elements of each country’s culture. Dig Deep juxtaposes traditional elements with the most rugged aspects of their respective countries to create premium garments for curious-minded people living in this homogeneous generation. Recently, Neocha sat down and talked to Choo, one of the founder of Dig Deep, to find out more about their inspirations and view on streetwear culture in the region.

Neocha: Within the context of Singapore, have you faced any difficulties in trying to start an independent fashion label? What are some of the more memorable experiences of starting this label?

Choo: We’ve actually encountered countless issues along the way due to nature of the fashion industry in Singapore. The difficulty of sourcing embellishments and fabrics was definitely one of the most challenging one we’ve had to overcome. By many measures, the local fashion industry is quite small when compared to other industries in Singapore’s economy. This led us to the sourcing of our fabrics and embellishments from more established markets in Japan, China and Vietnam. One of the most interesting things we did in starting Dig Deep, and still continue to do this day, is work closely with our pattern makers. Both ladies of whom are in their late fifties and have been perfecting this art for over the past thirty years. Pattern making is essentially a dying trade in Singapore, a skill that many can pick up with time but only able to master through countless years of experience and practice. Pattern making can be loosely defined as making the shapes for each component (e.g. sleeve, cuff, collar, bodice etc. for a shirt) of a particular type of garment and these shapes will eventually be used to cut the fabric according to the patterns before being sewn together. The pattern makers we work with exercise a great degree of judgement and precision in crafting the patterns according to our sketches, measurements, and inputs through fitting sessions. We actually rely heavily on these increasingly rare artisans to bring Dig Deep’s designs to life.

Neocha: Many would agree that Singapore is the financial center of South East Asia, and you come from a financial business background. In a country where it’s possible to have a comfortable career in finance, what led you to abandon this path and dedicate yourself to fashion?

Choo: I would say there weren’t any factors that pushed me to leave the world of finance, but rather I was pulled and drawn into the world of fashion by a number of factors; one of which was definitely the insatiable desire to create. I saw the creation of garments and Dig Deep as an avenue that would allow myself and my team to create a brand and products that hopefully many would be able to relate to. In fashion, the individuality beyond just the garments itself was also something that truly intrigued me. I have always found it very interesting how the same piece of garment could be part of such a disparate impression for two different people wearing it. The styling, the attitude, the age of the individual, their gender, their body structure, their tattoos or the lack thereof are all components that actually give the garments its character. To me, It’s really fascinating how people buy clothes with the mindset that it creates a certain persona or impression of themselves to others, or even to themselves. They’re generally unaware that their interaction with the garment itself is actually what gives the garment its character.

Neocha: Most Asian countries have westernized rapidly in the last few decades, and it’s kind of xenophilic on some levels. When you created Dig Deep, did you feel a certain sense of responsibility to make certain cultural and traditional aspects of Asia more accessible to the younger generation?

Choo: Most definitely. There are a number of reasons why we feel this way. One of the main reasons is this perspective that we all hold in the team, which is without knowledge of history, and the cultural, traditional aspects of different parts of Asia, we would not be able to appreciate the present to the fullest extent. It’s only by learning about the journey of how Asia has come to be where it is right now that one is able to understand where the future of Asia lies. The result of the rapid westernization of the East has most definitely brought about some benefits for Asia, but not without its disadvantages, such as the erosion of our own culture, tradition and aesthetics. These things have to be relearned due to the younger generation’s lack of exposure to these elements. The result of which is often an aversion to these seemingly archaic elements, often seen as being outdated and irrelevant to the current generation. What we aim to achieve here at Dig Deep is to generate curiosity and create designs for garments that we feel would be highly relevant to this generation and also serve as a catalyst for one to explore deeper into East Asia’s immensely rich heritage.

Neocha: How did all the minds behind Dig Deep meet and get together to start the brand?

Choo: A good friend of mine and I were actually having a conversation, about a year and half back, talking about how we felt that much of what we wore in both formal and casual settings was predominantly, or in most cases, entirely Western by nature. We then went on to speak about how wearing our traditional outfits was essentially left for rare occasions and we imagined how people would react if we wore it on a day-by-day basis; we envisioned most people might find it quite odd, and we’d most likely be ridiculed by some, which really got us thinking why that was the case. It became quite clear to us that the economic and political dominance of the West over the last few centuries have permanently altered our perception of our own culture, traditions, and arts, to the point that most of us have developed a sense of aesthetics or normalcy in dressing in a style that’s aligned with Western cultures. We felt that the underappreciation of the arts and culture in the Asian region was less a result of inferiority and more related to an underexposure of Asian elements. Thus, in order for Eastern aesthetics to be considered “normal” and “pleasing to the eye,” it needs more exposure. It was through this conversation that Dig Deep was manifested. We noticed the absence of an Asian-inspired high street brand in the global fashion scene and felt strongly there was definitely room for a number of Asia-inspired brands such as visvim and the up-and-rising IISE to appeal to the global audience, in what has become a rather homogenous environment for high street fashion. It is our hope that Dig Deep, along with other Asia-inspired labels, will be able to bring about a refreshing perspective on high street fashion.

Neocha: You guys insist on all-original designs, and there are many interesting details in each single one of your creations. What are some reoccurring concepts you try to incorporate when designing an outfit?

Choo: One of the concepts we constantly explore from collection to collection is the reinterpretation of certain iconic traditional elements and how we are able to respectfully transform and incorporate these elements into a particular garment, but in a unique and refreshing way. For example, our first official collection Dragon in the Concrete Jungle explored one of the legends of the East, the late Bruce Lee. We were particularly fascinated with Bruce Lee’s final film appearance before his passing, the 1973 classic Enter the Dragon. In that film, Bruce Lee can be seen wearing a particular type of pants in several iconic scenes. We saw the incredible structure and silhouette of the pants, which was extremely flattering to the male body; being slim at the waist, with strength around the thigh areas, before it’s tapered down near the ankle region, allowing it to elongates the legs. We adopted a very similar structure to our pants and not only that, the cloth used in securing the ankle regions as seen in the film was reimagined. What we created was essentially Bruce Lee’s pants. In the early design phase, we will also try to understand the functionality and reasoning behind why a particular traditional East Asian attire is the way it is, the reasons behind how the aesthetics of that attire has come to be. In our upcoming collection based around Japan, we researched extensively on a couple of facets of Japanese culture, one of them being the attire worn in the art of yabusame, a type of mounted archery in traditional Japanese culture that originated in the Kamakura period.

Neocha：你们坚持原创设计，你们的很多设计中有很多有趣的小细节。当你们在设计一件衣服时，有什么你们很看重的理念吗？

Choo：其中一个理念，在我们每一季的设计中都在一直探索的就是，用一种新鲜且独特的方式，把一些标志性的传统元素转化和融入我们的设计中。举个例子，我们的第一季《Dragon in the Concrete Jungle》灵感来自东方传奇李小龙。在他离世前的最后一部电影，1973年的《龙争虎斗》中，在很多标志性的场景中李小龙都穿着一种很独特的裤子。我们能发现它的剪裁其实是很衬托男性身材的，在腰部的地方收窄，大腿部分相对宽松，最后在脚踝部分收窄，使其更显腿部的修长。我们把这种结构带到我们裤型设计中，在此之上，又重新设计了脚踝部分的设计，使我们真正意义上做了一条“李小龙”裤。在设计的初期，为了理解为什么设计成这样，我们努力去研究和学习亚洲传统服饰设计中独特的功能性。我们下一季的灵感主要来自日本，深入研究了日本文化的几个方面，其中一个就是在流镝马这个起源于镰仓时期的传统马上射箭项目时穿着的服饰。

Neocha: Many brands are starting to create more Asia-inspired apparel, and most of them keep it rather traditional, what would you say makes Dig Deep different from the rest?

Choo: There are a number of factors which set Dig Deep apart from the rest and chief amongst these is in our view, our perspective on East Asia which stems from the dynamic nature of our team. The heritage and influences of our team is quite wide ranging. On our team, we have Chinese individuals who have grown up in westernized societies, such as Melbourne and Singapore; a Eurasian whose heritage is part Polish and part Chinese, but whose nationality is American; and also a Shanghai native who has spent a large amount of time in Singapore. This diverse dynamism within the team allows for Dig Deep to have a highly varied and nuanced view of East Asia and affects how we interpret different elements of East Asia. This has a direct impact on the brand and all of our designs. Our individual opinions and perspectives are forced to interact collectively and the result of which are designs that stand apart. On the more tangible side of things, we place a lot of emphasis on the quality of our fabrics and embellishments along with the workmanship behind putting each garment together. We never compromise on the smallest of details for each garment. Every piece of garment is handmade, which allows us certain types of finishes and quality that would not be possible with machines.

Neocha: Traditional East Asian attires have a very unique look compared with traditional attire in other regions. What is your take on the aesthetics of traditional East Asian attire?

Choo: One of the major differences for traditional East Asian attire compared with traditional attire of other regions would most definitely be the evidence of strong hierarchal elements in traditional East Asian attire. It’s not to say that these elements aren’t present in the traditional attire of other regions, but the difference is really in how the hierarchal elements are expressed. In traditional East Asian attire, the aesthetics for royalty and higher ranking members of society revolved around mythological creatures, in addition to rich colours and embellishments. The unique look of traditional attire in East Asia can also be attributed partly to the environmental conditions of the region where seasons play a large role in what people used to wear to protect themselves against the environment. The iconic layering often seen in East Asian attire was mostly due the harsh winters in certain areas of East Asia and though it served a functional purpose, it has also become one of the more prominent features of East Asian aesthetics in the traditional garments. However, we are very often very cautious in generalising traditional East Asian attire under one category, as the differences from country to country, even within a country itself from region to region, or the different time periods have spawned numerous looks within East Asia. It is this dynamism within the East Asia region that we at Dig Deep, truly revel in.

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Founded by Natasha Ivachoff, Victoria Ivachoff, and Jessica Brus, MISSYSKINS is a womenswear brand that officially launched in 2012. With the tenacious mindset of wanting to make leatherwear trendy and easily accessible, the three have released two different collections under the MISSYSKINS brand. The first of the two, MISSY SKINS by NATASHA IVACHOFF, is their mainline collection filled with impeccably crafted iconic leather garments. The other is Diffusion, a collection that combines street-orientated aesthetics with a sense of playfulness.

The new AW16 Diffusion release, ROYALTY, is based around the sports luxe look. But staying true to the brand’s original vision, the collection still consists of many leather pieces, with boldly emblazoned floral prints making frequent appearances this release. From a cerulean blue fur coat worn over a pair of indigo blue leopard leggings to a metal-studded leather jacket juxtaposed with a white laced dress, ROYALTY is a diverse and youthful collection designed with the modern fashionista in mind. Scroll down to see more images from the new collection.

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Street culture embodies the spirit of freedom. It is a culture that emphasizes the importance of confidently expressing yourself. Modern street culture has already broken through many geographic and cultural boundaries and is deeply rooted in today’s youth culture on a global scale. The youth of China have been attempting to find their own voice amidst the endlessly changing trends. Many phenomenal streetwear brands have already emerged from the country, but there are still a lot of misconceptions in China about streetwear with many people believing it is only t-shirts, button downs, hoodies, and so on. Many brands look to transcend the generic designs cluttering the streetwear scene in China and establish a unique brand identity of their very own. GRAF&WU is one of those brands that have successfully done so.

GRAF&WU’s logo is a giraffe, but the “GRAF” in the brand name is actually an acronym that stands for “Generation Represent Artistic Fashion”. This reflects their brand ethos that aspires to have a generation of people using fashion as an artistic medium. The “WU” represents Wuhan, the city that the founder and brand director Graf grew up in. Graf is an illustrator, designer, and 3D modeler who is currently studying at the Academy of Art University in San Francisco. The entire concept for GRAF&WU began in 2013 when she was studying in Beijing, and it followed her to the U.S. where it continued to grow as she explored her love affair with hip-hop. It was in San Francisco where GRAF&WU started coming into its own as a brand. As the brand continued to refine their aesthetic and vision, their fanbase in China has grown along with it. Read our interview with Graf below.

Neocha: When did you start GRAF&WU? What inspired you to launch the brand?

Graf: In 2015, the brand was officially registered as a business in China. In the beginning, I noticed certain societal issues on Weibo that I wanted to address. I felt frustrated at my inability to fully articulate my thoughts through words, but at the same time, I enjoyed expressing myself through illustrations. I then realized even if I make a hundred, or a thousand pieces of work, it wouldn’t guarantee that people will look at them. The internet, magazines, and other kinds of print matter are all mediums people use to communicate ideas. I studied fashion design, so I thought perhaps I could use textile and fabric as a medium to express my ideas. Nothing will makes people pay closer attention to your work than if they spend money on it. Also, if someone wore my work and walked around in it, then aren’t my creative concepts being displayed even more effectively? So then I decided to create something basic: t-shirts. That was how the first GRAF t-shirt came to be. From then until now, I’ve lost track of how many I’ve designed.

Neocha: What do you consider to be the distinctive characteristics of the GRAF&WU brand? How did you develop this style?

GRAF: Originality in design. Many of my illustrations and images requires careful observation or understanding of a certain culture to fully comprehend it. In that regard, my customer base is a fairly select group of people. But there are also a large number of people that just like the aesthetic qualities of the images. Most of my designs are closely related to rap music, which is something that I really love. Sometimes I might be feeling the lyrics of a song and I will want to turn it into an image. My focus generally revolves around cultural aspects from the ’80s and ’90s, but my work will also sometimes touch on more recent events.

Neocha: Wuhan is obviously important to you, as can be seen in your deliberate choice to call out the city in your brand name. How do you think Wuhan influences your work?

Graf: To be honest, Wuhan isn’t a huge influence on my work. I just wanted to be constantly reminded about where I came from. Many streetwear brands originated from Chinese cities, but they will force an “LA” or “NY” somewhere in their brand name. When it comes to a person’s creation process, I think it’s important to keep it real. That’s why I included Wuhan into my brand name.

Neocha: What are the concepts behind the brand. What message do you intend to communicate through your brand?

Graf: I often hide slogans in the details of my clothes, such as “Hustle Hard,” “Be Great,” and so on. These can be found on the inside of sleeves and at the bottom of shirts. The concept here is to encourage being persistent and doing everything to the best of your abilities. It’s about pushing your potential to the absolute limit. It’s easy in theory, but hard to actually do. We live in a comfortable world now, and many people think that working eight or nine hours is a hardship. The people that are actually working hard are trying to push themselves and improve themselves every second and every minute. They’re never satisfied. The images on my clothing might just be a fun little cartoon, or just some text, but I intend for these details to become a constant reminder to the wearer. I want to remind them to always be determined and push themselves to do everything to the best of their abilities. This is a big part of street mentality.

Neocha: Does your personal work and your designs for GRAF&WU conflict with one another?

Graf: Some people say it is impossible to turn your hobby into a career, because once a hobby becomes a job then the pressure of work will make you hate it. But this mentality doesn’t apply to me. I love working. I am basically at home creating everyday, or looking for new inspiration in my travels. Even if I am attending some party or event, it will be related to the brand. The majority of my personal artistic creations have turned into products for GRAF&WU and can be found as products. It’s a perfect example of killing two birds with one stone.

Neocha: Can you tell us about the collaboration between GRAF&WU and Vital? Do you plan on working on more collaborative projects in the future?

Graf: Vital is a very talented rapper on the West Coast. He’s collaborated with the likes of Snoop Dogg and Berner. Currently, his label just finished a coast to coast tour in the U.S. and he is preparing to release his brand new album. I am already working closely with his team to start planning out their next tour. GRAF&WU will be designing and supplying all of the products and merchandise for it. Our clothing will also appear on stage during the tour. I am also talking with many other U.S. artists about possible collaboration. These will all be announced on our Weibo or on our online shop in the near future. In China, besides our upcoming Fall/Winter collection, GRAF&WU will also be working with Yo It’s Free between August and October to host a street dance competition. We also plan on working together with Japanese street dancer Kato to release some new products. The street dance competition will make stops in cities all over China. Everyone is welcome to join!

In recent years, South Korea has undoubtedly become one of the most culturally influential countries in Asia. Hallyu, or “Korean Wave,” has permeated every nook and cranny of the region over the last decade and it’s even seeping into Western culture with the likes of PSY’s “Gangnam Style”. This has led to many Western fashion brands pairing up with various influential Korean celebrities. South Korean pop idol G-Dragon frequently appears alongside Karl Lagerfield at Chanel runway shows and has even released a footwear capsule collection with Giuseppe Zanotti. With Korean tastemakers like G-Dragon on the forefront of Asia’s fashion scene, it’s not surprising that more and more Western brands are looking to become associated with Korean pop culture. On the other side of this thriving Korean pop culture phenomenon are the local Korean brands. A number of local streetwear brands have been on the uprise in Korea following the K-pop craze. In the Seoul street style scene, these brands often appear as pieces that accompany Western luxury brands. Western luxury brands have already successfully found footing in the Korean market, but it’s not as easy for Korean fashion brands to gain traction in the Western market.

Meet IISE, a streetwear brand that has set themselves apart from other Korean brands and built a devoted following online that mostly consists of a Western audience – a difficult task that many other Korean brands are having trouble achieving. Part of the appeal is IISE’s unique line of products; their collection of streetwear is an imaginative reinterpretation of traditional Korean aesthetics. The two brothers and founders behind IISE, Terrence Kim and Kevin Kim, are second generation Korean Americans. Their background ties into the brand name IISE, which translates to “second generation” in Korean. “We believe everything we create is an extension of our identity. It’s not 100% American, not 100% Korean, but a mix of both cultures,” Terrence says. The name IISE and the concept of “second generation” is also related to the brand’s approach of taking things from previous generations, such as fabrics, techniques, and design elements, and then reintroducing them through the brand’s own minimal, street-sensible aesthetics.

IISE officially launched three years ago after the two brothers visited Seoul for the first time since they were kids. The traditional Korean architecture and art they saw there became a catalyst that set them off on a journey to learn more about Korean culture and rediscover their roots. They began looking for ways to showcase Korean culture to the rest of the world, and IISE was born as a means of fulfilling this ambitious vision. Recently, Neocha spoke to IISE to learn more about their designs and the streetwear scene in South Korea.

IISE: The idea for the brand came when we visited Seoul, so we owe everything to this city. Other inspirations are from American streetwear and street culture, things we grew up with while living in the U.S. almost our entire lives.

IISE: Each piece we design may have more traditional elements or more modern elements depending on how we approach each piece. Some pieces are heavily inspired by traditional Korean culture like our hanbok jacket (which is inspired by traditional Korean clothing). Other pieces like our leather Double Rider are our version of a classic western silhouette we’ve seen for so long. We do feel like the colors we have chosen thus far are representative of some of the neutral colors of the city. But there are also many vibrant colors found in Seoul that we have yet had the chance to explore.

Neocha: What differentiates your brand from other Korea-based streetwear brands? Or even other international streetwear brands?

IISE: When we were in the States, we’ve never even heard of a Korean-inspired streetwear brand. Even when we first arrived to Korea we couldn’t find one, which was a big reason why we wanted to start one. After living in Seoul for almost four years now, we have discovered other Korean-inspired brands in design, but I think IISE differentiates from the others because we also use traditional fabrics, and natural dyeing techniques that have existed in this country for hundreds of years. Many of the things we use are often seen as “old-fashioned” to native Koreans, but for us it was something completely new and continuously discovering these age-old things has been very exciting.

Neocha: What sort of Korean techniques and aesthetics have you incorporated into your modern streetwear?

IISE: Our debut bag collection utilized a combination of high quality leathers mixed with a Korean silk and cotton blended fabric. What makes this fabric unique is the natural dyeing techniques that were applied to it, which gave us the color and feel that we desired. Some of the ingredients used to achieve our colors were Korean persimmon fruit, natural indigo plant, charcoal, and volcanic ash. After the fabrics were dyed with these ingredients over and over again for a four to six week period, we felt satisfied with the final outcome. The unique texture, color, and story this produced was what made our first collection really stand out in the market.

Neocha: Can you share your thoughts about the current streetwear scene in Seoul?

IISE: Streetwear and street culture in general are exploding in Seoul largely due to the internet and social media. Everyone is now able to see the minute a streetwear brand from across the world releases product now, so people are definitely more aware of what’s available. I believe it will continue to grow as time goes on. It would be amazing for a Korean brand to be known globally and we would love IISE to be one of them. I think the scene is still at its infant stages actually. Sooner or later, the world will know more about Korean fashion brands. For a long time Korea has been a third world country. Only in recent times has it risen to become an economic power where creatives now have the chance to pursue more artistic work. I believe many artists and creatives in previous generations were not able to so because of economic reasons. Now you have a wealthy country, and a whole generation of creatives ready to show what Korea can offer. We’re all waiting to see what happens.

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Shenzhen is a modern day behemoth of a city; its rapid expansion over the years has transformed what was previously a quiet fishing village into the Silicon Valley of China and a mega-metropolis. Despite the developmental strides of the entire city, the streetwear and fashion scene hasn’t quite caught up – especially when compared to the likes of New York and London. ROARINGWILD is an independent Shenzhen-based streetwear brand not complacent in the quiet state of the scene. Instead, they have aspirations of becoming the vanguard of Chinese youth culture, not only for Shenzhen – but for China as a whole.

Through ROARINGWILD, the founders wish to encourage young people to chase after their dreams and fearlessly express themselves, rather than conforming to the expectations of society. In a way, the brand’s attitude pays homage to the American countercultures of the 1970s and 1980s that set up the foundation for modern day streetwear. Holding the belief that streetwear is more related to lifestyle than fashion, the founders of ROARINGWILD create what they consider to be hip and relevant to their own lives, as opposed to creating with the current trends and appeasing as many consumers as possible. It’s this same mentality that puts further emphasis on their brand ethos and instills a sense of authenticity into their designs. Neocha recently talked to BG, the creative director and head fashion designer of ROARINGWILD, about their brand’s identity and the current state of streetwear in China.

Neocha: How did the brand start? Who are the minds behind this project? What inspired the idea of starting a streetwear brand in Shenzhen of all places?

BG: ROARINGWILD was founded by the six of us during college. It was me, CY, MIMI, QIAO, PPC, and REIKA. All six of us grew up in Shenzhen and went to the same university, and that’s how we all got together. At the time, it felt like there weren’t any interesting independent brands in the city; combine that with the fact that the six of us were quite interested in streetwear culture. These two things led to us creating the brand. In the beginning, we were just having fun with it, making small accessories that people liked. Our early days are actually quite similar to the DIY ethics many other streetwear brands were founded on. We kept refining the brand and we somehow ended up where we are today.

Neocha: How would you say the urban environment of Shenzhen plays into your design? How does the cityscape influence your brand?

BG: The brand and its products is meant to serve us, so a lot of the designs will be based on our personal needs and how the city influences us. Shenzhen is located in a subtropical region, so most our products won’t be for the outdoors. You also won’t find too many jackets and raincoats that are commonly seen with European brands. Shenzhen is a young city, but it subtly and constantly exerts an influence on the direction of our brand. It’s difficult to compare it to other Chinese cities with a long history (such as Beijing, Xi’an, and so on). Many people consider Shenzhen to be a barren “cultural desert”, with only a few decades of history behind it, but in a place like this is where an oasis is most needed.

BG: All the founders are Chinese, and we all hold a reverence for our culture. Naturally, the brand and designs will be inspired by China. Personally, I’m quite interested in Chinese characters and Chinese philosophies – this is reflected in our brand’s concepts. We don’t want ROARINGWILD only to represent us or the city. We look forward to the day when our brand can be a strong representative for China and become a well-known brand amongst the other amazing international streetwear brands out there. We want it to be up there with Stussy, Supreme, Vans, Palace, RIPNDIP, White Mountaineering, Neighborhood, Undercover, Stone Island and so on. Some of those brands are as young as our own brand, but they still exude their own style.

Neocha: How would you describe the streetwear scene in Shenzhen? How does it match up to the likes of cities such as Shanghai, Beijing, Hong Kong, or Tokyo? How does it match up to other international cities like New York and London?

BG: The streetwear culture in Shenzhen is a bit behid in comparison with these other cities. Not many people know what they want out of life, what they want to wear, and even less people have their views on lifestyle. Most people just follow the fads, they wear whatever’s trending. It’s not like Shanghai, Beijing, Hong Kong, or other metropolises in the region where people are more confident. For example, I feel in places like Tokyo, young people are even more confident and able to express themselves more freely. Most people in Shenzhen care too much about what other people think, and in doing so have neglected themselves. I think everyone should live their own life, instead of worrying too much about what other people think.

Neocha: What kind of challenges have you encountered getting your brand up and running?

BG: We really came from the streets. We were just normal kids with an interest in streetwear and nothing more. We didn’t create this brand in the same way that a well-developed company would have. So in the beginning, we failed to factor in a lot of things – such as resources, finances, manpower, and technique. We were a team but we had no one to depend on besides ourselves. We’ve developed into a mature company now, but there will always be more challenges to overcome.

Neocha: Do you feel like the streetwear scene has changed since ROARINGWILD started? Do you feel like more Chinese youth are becoming more interested?

BG: In the first year that ROARINGWILD was established, many more independent brands and streetwear brands began popping up. Of course, this was already somewhat happening before, but with the development of the internet and Chinese people becoming more open to things like these, more and more brands are able to thrive. The interconnectivity of the web allowed streetwear to be more accessible to the youth, so more people are beginning to accept it. To some extent, I would say it’s becoming more and more mainstream. More people are also beginning to be exposed to the lifestyle behind the streetwear. This is a great sign. A lot of young people are living lives that go against societal expectations and are thinking more independently now. They’re not living just to live anymore.

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Neocha: In your opinion, what does the Juice Shanghai store represent? Between the wide range of brands that you carry in the store and the style of the space itself, what does Juice Shanghai give to the fashion community here in Shanghai?

Juice Shanghai: Juice Shanghai was the first of our stores to open in China, and our third store to open worldwide. Through this storefront platform, CLOT hopes to continue the innovation of streetwear culture in China. Located in a three-floor building among the traditional architecture of Julu Road in Jing’an District, Juice Shanghai creates an open space that combines both lifestyle and fashion through streetwear that also has an element of history in it.

Neocha: Since Juice Shanghai opened in 2009, what have been the biggest changes to the store?

Juice Shanghai: There have been some changes in the brands we carry at the shop, as well as changes to the style of our logo, towards a more functional, formal style. Our customers have also shifted in demographic, starting as 15 to 20 year-olds who were fans of Edison (Chen) and now moving into 25 to 30 year-olds who have careers. Of course, we also have customers who travel through Shanghai and will stop by to shop.

Neocha: What is unique and different about Juice Shanghai from other streetwear shops in China, as well as from the other Juice stores in Hong Kong, Taiwan, and Beijing?

Juice Shanghai: The unique aspects to Juice revolve around the original brand CLOT, as well as the selection of foreign brands that we carry. Every Juice store has a different design to it, and out of all of our stores, the Shanghai shop is the largest space. Each floor of our store has a different style, and throughout the store there is a distinct Chinese style in the design.